The Lotos-Eaters is a poem by Alfred Tennyson, 1st Baron Tennyson, published in Tennyson's 1832 poetry collection. It was inspired by his trip to Spain with his close friend Arthur Hallam, where they visited the Pyrenees mountains. The poem describes a group of mariners who, upon eating the lotos, are put into an altered state and isolated from the outside world. The title and concept derives from the lotus-eaters in Greek mythology.
In summer 1829, Tennyson and Arthur Hallam made a trek into conflict-torn northern Spain. The scenery and experience influenced a few of his poems, including Oenone , The Lotos-Eaters and Mariana in the South . [1]
These three poems, and some others, were later revised for Tennyson's 1842 collection. [2] In this revision Tennyson takes the opportunity to rewrite a section of The Lotos-Eaters by inserting a new stanza before the final stanza. The new stanza describes how someone may have the feelings of wholeness even when there is great loss. It is alleged by some that the stanza refers to the sense of loss felt by Tennyson upon the death of Hallam in 1833. [3]
The mariners are put into an altered state when they eat the lotos. During this time, they are isolated from the world: [4]
Branches they bore of that enchanted stem,
Laden with flower and fruit, whereof they gave
To each, but whoso did receive of them
And taste, to him the gushing of the wave
Far far away did seem to mourn and rave
On alien shores; and if his fellow spake,
His voice was thin, as voices from the grave;
And deep-asleep he seem’d, yet all awake,
And music in his ears his beating heart did make. (lines 28–36)
The mariners explain that they want to leave reality and their worldly cares: [4]
Why are we weigh’d upon with heaviness,
And utterly consumed with sharp distress,
While all things else have rest from weariness?
All things have rest: why should we toil alone,
We only toil, who are the first of things,
And make perpetual moan,
Still from one sorrow to another thrown;
Nor ever fold our wings,
And cease from wanderings,
Nor steep our brows in slumber’s holy balm;
Nor harken what the inner spirit sings,
'There is no joy but calm!"—
Why should we only toil, the roof and crown of things? (lines 57–69)
The mariners demonstrate that they realise what actions they are committing and the potential results that will follow, but they believe that their destruction will bring about peace: [5]
Let us alone. Time driveth onward fast,
And in a little while our lips are dumb.
Let us alone. What is it that will last?
All things are taken from us, and become
Portions and parcels of the dreadful past.
Let us alone. What pleasure can we have
To war with evil? Is there any peace
In ever climbing up the climbing wave?
All things have rest, and ripen toward the grave
In silence—ripen, fall, and cease:
Give us long rest or death, dark death, or dreamful ease. (lines 88–98)
Although the mariners are isolated from the world, they are connected in that they act in unison. This relationship continues until the very end when the narrator describes their brotherhood as they abandon the world: [6]
Let us swear an oath, and keep it with an equal mind,
In the hollow Lotos-land to live and lie reclined
On the hills like Gods together, careless of mankind.
For they lie beside their nectar, and the bolts are hurl’d
Far below them in the valleys, and the clouds are lightly curl’d
Round their golden houses, girdled with the gleaming world;
Where they smile in secret, looking over wasted lands,
Blight and famine, plague and earthquake, roaring deeps and fiery sands,
Clanging fights, and flaming towns, and sinking ships, and praying hands.
But they smile, they find a music centred in a doleful song
Steaming up, a lamentation and an ancient tale of wrong,
Like a tale of little meaning tho’ the words are strong;
Chanted from an ill-used race of men that cleave the soil,
Sow the seed, and reap the harvest with enduring toil,
Storing yearly little dues of wheat, and wine and oil;
Till they perish and they suffer—some, ’tis whisper’d—down in hell
Suffer endless anguish, others in Elysian valleys dwell,
Resting weary limbs at last on beds of asphodel.
Surely, surely, slumber is more sweet than toil, the shore
Than labour in the deep mid-ocean, wind and wave and oar;
O, rest ye, brother mariners, we will not wander more. (lines 154–173)
The form of the poem contains a dramatic monologue, which connects it to "Ulysses", St. Simeon Stylites , and Rizpah. However, Tennyson changes the monologue format to allow for ironies to be revealed. [7] The story of The Lotos-Eaters comes from Homer's The Odyssey . However, the story of the mariners in Homer's work has a different effect from Tennyson's since the latter's mariners are able to recognize morality. Their arguments are also connected to the words spoken by Despair in Edmund Spenser's The Faerie Queene , Book One. With the connection to Spenser, Tennyson's story depicts the mariners as going against Christianity. However, the reader is the one who is in the true dilemma, as literary critic James R. Kincaid argues, "The final irony is that both the courageous Ulysses and the mariners who eat the lotos have an easier time of it than the reader; they, at least, can make choices and dissolve the tension." [5]
Tennyson ironically invokes The Lover's Tale line 118, "A portion of the pleasant yesterday", in line 92 of The Lotos-Eaters: "Portions and parcels of the dreadful past". In the reversal, the idea of time as a protector of an individual is reversed to depict time as the destroyer of the individual. There is also a twist of the traditionally comic use of repetition within the refrain "Let us alone", which is instead used in a desperate and negative manner. The use of irony within The Lotos-Eaters is different from Tennyson's The Lady of Shalott since "the Lady" lacks control over her life. The mariners within The Lotos-Eaters are able to make an argument, and they argue that death is a completion of life. With this argument, they push for a release of tension that serves only to create more tension. Thus, the mariners are appealing yet unappealing at the same time. [8]
In structure, The Lotos-Eaters is somewhere between the form of Oenone and "The Hesperides". In terms of story, The Lotos-Eaters is not obscure like "The Hesperides" nor as all-encompassing as Oenone but it still relies on a frame like the other two. The frame is like "The Hesperides" as it connects two different types of reality, one of separation and one of being connected to the world. Like Oenone, the frame outlines the song within the poem, and it allows the existence of two different perspectives that can be mixed at various points within the poem. The perspective of the mariners is connected to the perspective of the reader in a similar way found in "The Hesperides", and the reader is called to follow that point of view to enjoy the poem. As such, the reader is a participant within the work but they are not guided by Tennyson to a specific answer. As James Kincaid argues, "in this poem the reader takes over the role of voyager the mariners renounce, using sympathy for a sail and judgment for a rudder. And if, as many have argued, the poem is 'about' the conflict between isolation and communality, this meaning emerges in the process of reading." [9]
The poem discusses the tension between isolation and being a member of a community, which also involves the reader of the poem. In the song, there are many images that are supposed to appeal to the reader. This allows for a sympathy with the mariners. When the mariners ask why everything else besides them are allowed peace, it is uncertain as to whether they are asking about humanity in general or only about their own state of being. The reader is disconnected at that moment from the mariner, especially when the reader is not able to escape into the world of bliss that comes from eating lotos. As such, the questioning is transformed into an expression of self-pity. The reader is able to return to being sympathetic with the mariners when they seek to be united with the world. They describe a system of completion, life unto death, similar to Keats's "To Autumn", but then they reject the system altogether. Instead, they merely want death without having to experience growth and completion before death. [10]
Tennyson's 1832 collection of poems was received negatively by the Quarterly Review . In particular, the April 1833 review by John Croker stated that The Lotos-Eaters was "a kind of classical opium-eaters" and "Our readers will, we think, agree that this is admirable characteristic; and that the singers of this song must have made pretty free with the intoxicating fruit. How they got home you must read in Homer: — Mr Tennyson — himself, we presume, a dreamy lotos-eater, a delicious lotus-eater — leaves them in full song." [11]
The British romantic composer Edward Elgar set to music the first stanza of the "Choric Song" portion of the poem for a cappella choir in 1907-8. The work, "There is Sweet Music" (op. 53, no. 1), is a quasi double choir work, in which the female choir responds the male choir in a different tonality. Another British romantic composer Hubert Parry wrote a half-hour-long choral setting of Tennyson's poem for soprano, choir, and orchestra. [12] In the song "Blown Away" by Youth Brigade, lines from the poem are used, such as "Death is the end of life; ah, why/Should life all labour be?/Let us alone. Time driveth onward fast" and "let us alone; what pleasure can we have to war with evil? is their any peace"
The poem inspired, in part, the R.E.M. song "Lotus". "There’s the great English poem about the lotus eaters, who sit by the river and — I guess it’s supposed to be about opium — never are involved in life. Maybe there’s a bit of that in there," said Peter Buck. [13]
In episode 5 of HBO's series The White Lotus , Armond recites Choric Song IV of Tennyson's poem. The episode is named "The Lotus-Eaters".
Kubla Khan: or A Vision in a Dream is a poem written by Samuel Taylor Coleridge, completed in 1797 and published in 1816. It is sometimes given the subtitles "A Vision in a Dream" and "A Fragment." According to Coleridge's preface to Kubla Khan, the poem was composed one night after he experienced an opium-influenced dream after reading a work describing Shangdu, the summer capital of the Mongol-led Yuan dynasty of China founded by Kublai Khan. Upon waking, he set about writing lines of poetry that came to him from the dream until he was interrupted by "a person from Porlock". The poem could not be completed according to its original 200–300 line plan as the interruption caused him to forget the lines. He left it unpublished and kept it for private readings for his friends until 1816 when, at the prompting of Lord Byron, it was published.
Alfred Tennyson, 1st Baron Tennyson was an English poet. He was the Poet Laureate during much of Queen Victoria's reign. In 1829, Tennyson was awarded the Chancellor's Gold Medal at Cambridge for one of his first pieces, "Timbuktu". He published his first solo collection of poems, Poems, Chiefly Lyrical, in 1830. "Claribel" and "Mariana", which remain some of Tennyson's most celebrated poems, were included in this volume. Although described by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day, including Samuel Taylor Coleridge. Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood.
In Greek mythology, the lotus-eaters were a race of people living on an island dominated by the lotus tree, a plant whose botanical identity is uncertain. The lotus fruits and flowers were the primary food of the island and were a narcotic, causing the inhabitants to sleep in peaceful apathy. After they ate the lotus, they would forget their home and loved ones and long only to stay with their fellow lotus-eaters. Those who ate the plant never cared to report or return.
The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene (1590–96). Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'alexandrine' line in iambic hexameter. The rhyme scheme of these lines is ABABBCBCC.
Arthur Henry Hallam was an English poet, best known as the subject of a major work, In Memoriam, by his close friend and fellow poet Alfred Tennyson. Hallam has been described as the jeune homme fatal of his generation.
"Ulysses" is a poem in blank verse by the Victorian poet Alfred, Lord Tennyson (1809–1892), written in 1833 and published in 1842 in his well-received second volume of poetry. An oft-quoted poem, it is a popular example of the dramatic monologue. Facing old age, mythical hero Ulysses describes his discontent and restlessness upon returning to his kingdom, Ithaca, after his far-ranging travels. Despite his reunion with his wife Penelope and his son Telemachus, Ulysses yearns to explore again.
Dramatic monologue is a type of poetry written in the form of a speech of an individual character. M.H. Abrams notes the following three features of the dramatic monologue as it applies to poetry:
- The single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment […].
- This person addresses and interacts with one or more other people; but we know of the auditors' presence, and what they say and do, only from clues in the discourse of the single speaker.
- The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character.
The poem "In Memoriam A.H.H." (1850) by Alfred, Lord Tennyson, is an elegy for his Cambridge friend Arthur Henry Hallam, who died of cerebral haemorrhage at the age of twenty-two years, in Vienna in 1833. As a sustained exercise in tetrametric lyrical verse, Tennyson's poetical reflections extend beyond the meaning of the death of Hallam, thus, "In Memoriam" also explores the random cruelty of Nature seen from the conflicting perspectives of materialist science and declining Christian faith in the Victorian Era (1837–1901), the poem thus is an elegy, a requiem, and a dirge for a friend, a time, and a place.
Nationality words link to articles with information on the nation's poetry or literature.
"Crossing the Bar" is an 1889 poem by Alfred, Lord Tennyson. It is considered that Tennyson wrote it in elegy; the narrator uses an extended metaphor to compare death with crossing the "sandbar" between the river of life, with its outgoing "flood", and the ocean that lies beyond death, the "boundless deep", to which we return.
"Ring Out, Wild Bells" is a poem by Alfred, Lord Tennyson. Published in 1850, the year he was appointed Poet Laureate, it forms part of In Memoriam, Tennyson's elegy to Arthur Henry Hallam, his sister's fiancé who died at the age of 22.
The Lotos Club is a private social club in New York City. Founded primarily by a young group of writers and critics in 1870 as a gentlemen's club, it has since begun accepting women as members. Mark Twain, an early member, called it the "Ace of Clubs". The Club took its name from the poem "The Lotos-Eaters" by Alfred, Lord Tennyson, which was then very popular. Lotos was thought to convey an idea of rest and harmony. Two lines from the poem were selected for the Club motto:
In the afternoon they came unto a land In which it seemed always afternoon
"Mariana" is a poem by Alfred, Lord Tennyson, published in 1830. The poem follows a common theme in much of Tennyson's work—that of despondent isolation. The subject of "Mariana" is a woman who continuously laments her lack of connection with society. The isolation defines her existence, and her longing for a connection leaves her wishing for death at the end of every stanza. The premise of "Mariana" originates in William Shakespeare's Measure for Measure, but the poem ends before Mariana's lover returns. Tennyson's version was adapted by others, including John Everett Millais and Elizabeth Gaskell, for use in their own works. The poem was well received by critics, and it is described by critics as an example of Tennyson's skill at poetry.
"The Deserted House" is a poem written by Alfred, Lord Tennyson in 1830, as part of his collection Poems, Chiefly Lyrical. The poem is characterised by its reliance on short lines which alternate in rhyme and meter to prevent a felicitous feel. In the poem, Tennyson uses the image of a dark house as a metaphor for a dead body
"Oenone" or "Œnone" is a poem written by Alfred Tennyson in 1829. The poem describes the Greek mythological character Oenone and her witnessing incidents in the life of her lover, Paris, as he is involved in the events of the Trojan War. "Oenone" was inspired by Tennyson's trip to Spain, where he visited the Pyrenees mountains. It is considered the simplest of Tennyson's dramatic monologues.
"St Simeon Stylites" is a poem written by Alfred Tennyson in 1833 and published in his 1842 collection of poetry. The poem describes the actions of St. Simeon Stylites, a Christian ascetic saint who recounts his various physical acts in hopes that he has earned his place in heaven. It captures Tennyson's feelings following the death of a close friend, Arthur Hallam, and contains feelings of self-loathing and regret. The work has ironic overtones that give it the appearance of a satirical work.
"The Day-Dream" is a poem written by Alfred Tennyson that was published in 1842. It was an expanded version of his 1830 poem "The Sleeping Beauty". It was further altered in 1848 for a dramatic performance for a private gathering with Tennyson starring as the Prince. "The Day-Dream" discusses the nature of sleeping and of dreaming, especially in relation to individuals that would want to escape from reality. The poem also compares the act of poetry with dreaming and asserts that the two are the same.
William Edward Frank Britten was a British painter and illustrator. It is known that he worked in London, England starting in 1873 and that he stayed in the city until at least 1890. Britten's work ranged in style from to traditional Victorian to Pre-Raphaelite, and his artistic medium ranged from paintings to book illustrations. His paintings have mostly been praised by critics with his illustrations having been treated as either neutral or favourable by reviewers.
Poems, by Alfred Tennyson, was a two-volume 1842 collection in which new poems and reworked older ones were printed in separate volumes. It includes some of Tennyson's finest and best-loved poems, such as Mariana, The Lady of Shalott, The Palace of Art, The Lotos Eaters, Ulysses, Locksley Hall, The Two Voices, Sir Galahad, and Break, Break, Break. It helped to establish his reputation as one of the greatest poets of his time.
Poems, Chiefly Lyrical is a poetry collection by Alfred Tennyson, published in June 1830.
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